Harp.



PATENTED AUG. 8, 1905. F. G. YOUNG.

HARP.

APPLICATION FILED JULY 27,1904.

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No. 796,788. PATENTED AUG. 8, 1905. P. c. YOUNG.

HARP.

APPLIGATIOE FILED JULY 27.1904.

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No. 796,788. PATENTED AUG. 8, 1905.

' F. O. YOUNG.

HARP.

APPLICATION I ILED JULY 27:1 904.

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PATENTED AUG. 8, 1905.

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F. G. YOUNG.

. HARP.

APPLICATION FILED JULY 27.1904

ANDREW a GRANAM cm. PNOYO LITMOGRAPNERS wnsummomviti No. 796,788. PATENTED AUG. 8, 1905. L

P. G. YOUNG.

HARP.

APPLICATION FILED JULY 37. 1904.

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UNITED STATES FREDERICK O. YOUNG, OF ADRIAN, MINNESOTA,-ASSIGNOR TO HIMSELF,

PATENT OFFIOE.

CHARLES MYLIUS, AND A. J. SCHAEFFER, OF ADRIAN, MINNESOTA.

HARP.

Specification of Letters Patent.

Patented Aug. 8, 1905.

Application filed July 2'7, 1904. Serial No. 218,384.

To all whom, it may concern.-

Be it known that I, FREDERICK C. YOUNG, a citizen of the United States,residing at Adrian, in the county of Nobles and State of Minnesota, have invented certain new and useful Improvements in Harps, of which the following is a specification, reference being had to the accompanying drawings.

My invention relates to harps, and one of its objects is an improvement on the pedalaction, giving it a compound leverage and constructing it in such a way that the pedalrods will move vertically in the column-An other words, so that the pedal-rods will not be pulled from side to side by the action of the pedal-rods and head-actionthus constituting a more direct and satisfactory action of the pedal-rods and reducing the friction.

Another object of my invention is to provide new and improved ball-bearings for the pedal-rods, doing away with friction and making the action more satisfactory and easy.

Another object of my invention is the improvement of the head-action of the harp by the use of cam-arms, which are operated by the pedal-rods as they move up and down in the column and which in their turn operate the finger-bearing disks which sharp and flat the strings, and also by improving the headaction in sundry details hereinafter pointed out.

Another object of my invention is the improvement of the head-action of the harp by the use of cam-arms, above named, arranged in such a way that when by the action of the foot-pedals the sharpingfingers come in contact with the strings the natural-fingers are instantly released and when the sharpingfingers leave the string the natural-fingers again close upon it, thus doing away with the inharmonic note, which frequently causes,

and a storage-chamber provided with openings and valves, so that the openings between the sound-chamber and the storage-chamber may be opened and closed at will. This is done by the placing of a second sound-board within the sound-chamber below the sounding-board proper and providing the said second sound-board with openings and valves, as aforesaid. By this means the tone of the harp can be greatly improved and varieties of tone secured, as hereinafter pointed out.

Another object of my invention is the providing of the sound-board proper withnew and improved bass-bars.

Another object of my invention is to improve the harp in sundry details hereinafter pointed out.

Referring to the drawings, Figure 1 is a vertical section of a harp with one of each octave of the strings in place and only one pedal-rod and pedal shown for sake of clearness in the illustration. Fig. 2 is a detail, being a crosssection on line 2 2 of Fig. 1. Fig. 3 is an enlarged detail of a part of the arm and column of the harp, showing the head-action. Fig. 4 is an enlarged detail, being a longitudinal cross-section of a part of the arm of the harp, showing the head-action in plan. Fig. 5 isan enlarged detail, being a view of the under side of the sound-board, showing the bass-bars. Fig. 6 is an enlarged detail, being a view of one of the tuning or pitch screws. Fig. 7 is an enlarged detail, being a section of a portion of one of the pins upon which the cam-arms are mounted, showing the manner in which they are mounted. Fig. 8

is an enlarged detail, being a cross-section on line 8 8 of Fig. 1. tail, being a cross-section on line 9 9 of Fig. 1. Fig. 10 is an enlarged detail, being a view of one of the rings which support the camarms, showing the pedal-rods in cross-section. Fig. 11 is an enlarged detail, being an isometric view of a portion of the cam-arm-supporting ring and showing a portion of a lower cam-arm and a portion of one the pedalrods. Fig. 12 is an enlarged detail, being a top or plan view of one of the ball-bearing-supporting plates through which the pedal-rods pass. Fig. 13 is an enlarged detail, being a'section of a portion of the ball-bearing-supporting disk with a portion of one of the pedal-rods passing through it, showing the ball-bearing construction. Fig. 14 is an enlarged detail showing a portion of one of the pedal-rods and the cams acted upon by it in the position which they assume when both the natural and sharping disks are open. Fig. 15 is an enlarged detail, being a view of a portion of one of the pedal-rods in its first depressed Fig. 9 is an enlarged deposition, showing in solid lines the cam-arms in the position in which the natural-finger disks are brought to bear upon the strings and in dotted lines showing the position of the cam-arms when the sharping-disks are caused to engage with the strings. Fig. 16 is an enlarged detail of one of the foot-pedals partially in section; and Fig. 17 is an enlarged detail, being a section of one of the linger-bearing disks, spindle, and support, showing its construction.

In the drawings, 18 indicates the base of the harp, which contains the pedal-action,hereinafter described, and supports the body 19. The body 19 formsa sound-chamber 20 and is inclosed at its top by a sound-board 21.

22 indicates the column of the harp, which is supported by the base and body in the usual manner and which is hollow to contain the pedal-rods hereinafter described.

23 indicates the arm of the harp, connected with the body 19 by the neck 24.

The sound-board 21 of the harp, as is best shown in Fig. 1, is concave from above longitudinally and is mounted above the body 19, extending from the column 22 to the neck 24, and is securedin place by an apron 25, which strengthens the connection between the soundboard and the sound-chamber and body of the instrument. The apron 25 is made narrow in order not to interfere with the sound-vibrations. The sound-board 21 in addition to being curved longitudinally, as above described, is also curved transversely, as is best shown in Fig. 2, in a double compound curve, so as to be convex from above in its central longitudinal portion.

26 indicates strings of the harp, which are secured at their lower ends to the sound-board 21 and at their upper ends to pins 27, screwed into the side plates of the arm 23, hereinafter described. By turning the pins 27 by means of any suitable instrument the strings are brought to substantially the proper tension to give the required note.

28 indicates screw-threaded pins, which pass through suitable screw-threaded openings in the top plate of the arm,hereinafter described, and are provided at the lower ends with swivelrings 29, as is best shown in Fig. 6, and with heads 30, by which they may be turned in place. The screw threaded pins 28 are mounted near the pin 27, and the strings of the harp pass through the swivel-rings 29, as is best shown in Fig. 1. It will be obvious that by turning the screw-threaded pins 28 in one direction or the other by means of the head 30 the length of the vibrating portion of the string may be varied, and thereby the strings brought to the proper pitch or tuned. Being located above the harp, the heads 30 of the pins 28 are accessible and the harp can be readily tuned to the exact pitch even while playing. v

The sound-board 21, as is best shown in Fig.

5, is provided on its lower surface with a number of bass-bars 31, which extend in a curve inward and upward towardthe neck 01'' the harp, meeting the central longitudinal strengthening-rib 32, and the point at which each pair meets the central rib is above the line intersecting the outer ends of the next pair above in order to properly strengthen the soundboard. These bass-bars 3] are arranged in such a way as to separate each octave of the harp from the adjoining octaves. This feature adds much to the beauty of the tone, for the effect of these bass-bars is to largely confine the vibrations caused by the striking of any string to the octave in which the said string is located, bringing the octave that is employed into prominence. Another function of these ribs or bass-bars is to strengthen the sound-board, and arranged as they are they permit the vibration of the board from the center to the outer edges throughout the entire width of the sound-board without being interrupted by ribs arranged longitudinally of the sound-board, as is the custom with the ordinary make of harp.

33 indicates sound-holes in the sound-board 21.

The body of theharp is divided by a lower sound-board 34 into two chambers-the soundehamber 2O proper and a lower sound-chamber or storage-chamber 35. The lower soundboard 34 is curved longitudinally of itself in a curve concave from above and transversely in acurve convex from above, as is best shown in Figs. 1 and 2, and is secured in thebase 18 of the harp in any appropriate manner. 36 indicates openings in the lower sound or partition board 34, so as to form a communication for the air vibrations between the sound-chamber 20 proper and the lower sound or storage chamber 35. 37 indicates a bar which is provided with valves 38, arranged when the bar 37 is moved upward to register with the openings 36 and to close the same. 39 indicates a rod whichis secured to the lower side of the bar 37 and passes downward through the body 19 into the base 18, whereitis connected with theinner end of a pedal-lever 40, mounted upon a pivotal support 41 in the base 18 andprovided at its outer end with a footpedal 42. The pedal 40 is normally held in the position shown in Fig. 1 by a retractile spring 43. When the pedal is depressed, the rod 39 is raised, causing the valves 38 to close the openings 36. When the pressure of the foot is removed from the pedal 42, the spring 43 causes the parts to again assume the position shown in Fig. 1. By the use of this double sound-chamber, consisting of the sound-chamber proper and a lower sound-chamber or storage-chamber, a great improvement in the tone of the harp will be effected and a variety of tones produced. By the use of the partition 34 the harp contains three nodes-one halfway between the upper and the lower soundboard, one at the'lower sound-board or partition-board 34, and one half-way between the lower board and the base of the storagechamber. When the holes 36 are closed, only two points of vibration are brought into prominence, producing a light and airy effect. When the holes are opened, four points of vibration are brought into play, producinga deeper and heavier tone. By the operating of the valves and the opening and closing of the openings in the partition or lower sound board 34 the strength of the tone can be controlled. Moreover, by rapidly opening and closing the holes a tremolo efiect can be produced not possible in harps of the ordinary construction. Another advantage of'the partition or lower sound board 34 is the strengthening of the instrument, taking the place of the ordinary ribbing necessary in harps of the ordinary construction to support the sides of the body.

Referring to Figs. 1, 9, and 16, 44 indicates the pedals, which are mounted upon pivotal supports 45 in the base 18 of the harp and are provided with the usual foot-treadle upon the outer end. The pedals 44 are, as is usual, seven in number, one for each note of the diatonic scale, and they converge toward one another toward the interior of the base 18, as is best shown in Fig. 9. 46 indicates springs which bear upon the under surface of the pedals 44 and tend tokeep them in their raised position. 47 indicates intermediate levers which are pivotally mounted upon suitable,

supports 48 in the base 18 of the harp, as is best shown in Figs. 1, 9, and 16. They are seven in number, one for each pedal, and converge toward the column 22, as is best shown in Fig. 9, on the same lines as the pedals 44.

Referring to Fig. 16, the inner end of each pedal 44 is provided with a central opening 49 and with a screw-threaded cap 50, which is centrally perforated. 51 indicates a pin which is provided with a head 52 at its inner end and passes through the perforated cap 50 into the opening 49. 53 indicates a spiral spring surrounding the inner portion of the pin 51 and bearing at its inner end against the head 52 and at its outer end against the inner surface of the cap 50, the effect of the spring being to normally hold the pin 51 in the position shown in Fig. 16. The intermediate levers 47 are provided at each end with suitable openings, as is best shownin Fig. 16, and with centrally-perforated caps 54 55, which are screwed upon the ends of the intermediate levers 47. 56 indicates a pin which passes through the perforated cap 54 and is provided at its inner end with a head 57.- The outer end of the pin 56 is pivotally connected with the pin 51. 58 indicates a spiral spring which bears against the interior of the cap 54 and against the head 57 of the pin 56 and tends to hold the pin normally in the position shown in Fig. 16. It

will readily be seen that whenthe'foot-piadal 44 is operated by depressing its outer end the inner end will move upward in the arc ofa circle, rocking the lever 47, and the two pins 51 and 56 will be each moved outward against the action of the springs 53 and 58, causing the pivotal point of connection between the two pins to move in substantially vertical lines. When the pressure of the foot is removed from the pedal 44, the parts resume their normal position. 59 indicates a pin which passes through the perforated cap 55 into the inner end of the intermediate lever 47 and is provided at its inner end with a head 60. 61 indicates a spiral spring which bears upon the head 60 and upon the inner surface of the cap 55, tending to hold the pin 59 normally in the position shown in Fig. 16. 162 indicates pedal-rods which pass upward through the column 22 of the harp, supported by bearings hereinafter described. The pedal-rods 62 are seven in number, one being provided for each pedal, and are pivotally connected at their lower ends with the inner ends of the pin 59. It will be seen that when the outer ends of the pedals 44 are depressed, as above described, the inner ends of the intermediate levers 47 will be depressed, moving in the arc of a circle. The pins 59 will also be depressed, but will move against the action of the spring 61, so that their inner ends will travel in a vertical direction as the pedal-rods 62 are moved vertically downward. This com poundlever foot action, it will thus readily be seen, enables the pedal-rods 62 to travel in a straight vertical direction up and down longitudinally of themselves without being swung from side to side by the movement of the ends of the foot-pedals in the arcs of circles.

63 indicates circular plates which are located within the column 22 of' the harp and are three in number, located, as is best shown in Fig. 1, onenear ,the bottom of the column, one a short distance above the middle of the column and one near the top of the column in the head of the harp. Referring to Figs. 12 and 13, which show one of these plates in detail, each of the plates 63 is provided with seven openings, through which the seven pedal-rods 62 pass. The upper surface of the plate 63 is provided with a circular recess, as is best shown in Fig. 13, around each of the seven openings, in which is inserted an annular plate 64. The inner surface ofthe openings in the plate 63 and of the annular plate 64 are beveled, as is best shown in Fig. 13, to contain a series of balls 65, which bear upon the pedal-rods 62 and form ball-bearings within which the pedal-rods 62 operate. Above the top of the column proper 22 and in the forward end of the arm of the harp are mounted two rings 66 67, which are secured in any appropriate manner. These rings are arranged one above the other asuitable distance apart. In each of these rings 66 67 are placed several cross-pins 68,'prefe'rably three in numher, as best shown in Fig. 10. Upon the pins 68 in the upper ring 66 are swung cam-arms 69, which are seven in number, one for each of the seven pedal-rods 62. The cam-arms are held in position by suitable sleeves 68 of such length as to properly separate the camarms, so as to place one beside each one of the pedal-rods 62. The cam-arms 69, as is best shown in Figs. 3 and 14, are provided with cam-slots 7 O, which engage a bearing 71 near the top of the pedal-rods 62. The camarms 69 and their accompanying slots 7 O are substantially the shape best shown in Figs. 14. and 15, and this shape is such that when the pedal-rods are depressed a portion of their total amount of possible movement the engaging ot' the bearing 71 with the cam-slots 70 will cause the cam-arms 69 to swing toward the rear of the harp in the position shown in solid lines in Fig. 15, and when the pedal-rods are further depressed will cause the arms 69 to swing back again into the position shown in dotted lines in Fig. 15 for the purpose hereinafter set forth. As was said above, there are seven of these camarms 69, mounted in the upper ring 66, one for each pedal-rod or one for each note of the diatonic scale. In the lower ring 67 are mounted corresponding pins 68, upon which are mounted cam-arms 72, (best shown in Figs. 1, 11, 14, and 15, and held in place, as above described, by suitable sleeves 68.) The camarms 72 are also seven in number, one for each pedal-rod and for each tone of the diatonic scale, and are mounted, as best shown in Fig. 11, close beside the pedal-rods 62. The cam-arms 72 are provided with a cam slot 73, which engages with a bearing 74 upon the pedal-rod 62 a suitable distance below the bearing 71. When the pedal-rods are in their uppermost position, the cam-arms 69 and 72 are in the position shown in Fig. 14. The cam-arms 72 and the cam-slots 73 therein are substantially of the shape best shown in Figs. 14: and 15, with the upper portion straight and rounding into a curve at the ,lower end, whereby when the pedal-rods 62 are depressed a portion of their distance to swing the upper cam-arms 69 into the position shown in solid lines in Fig. 15 the bearings 7 1 will travel in the straight portion of the slot 7 3, so as not to move the cam-arms 72, leaving them in the position shown in solid lines in Fig. 15. When the rods 62 are further depressed by the action of the pedals, the bearings 7 4:, engaging the curved portion of the slot 73, swing the arms 72 forward into the position shown in dotted lines in Fig. 15. Suitable stepped slots are provided in the base, through which the pedals pass, by means of which the pedals 4.4 may be held in their intermediate downward position and in their lowest downward position. These slots are of the well-known form and description, and hence are not shown in detail. NVhen the pressure of the toot-pedals is released or they are disengaged from their bearings, the pedal-rods are returned by the action of the spring 46 to their normal position, (shown in Fig. 1,) which, it may be stated now, is the position in which all the'strings are tlatted, the strings being tuned so as to normally give the Hat of each note of the diatonic scale until engaged by the finger-bcaring disks, hereinafter to be described, as is the usual construction in all harps, the natural or the sharp of each note being produced by the action of finger-bearing disks upon the strings operated by the pedals and pedal-rods.

Coming then to my improved head action for giving the strings their natural tone or sharping them the arm 23 ot' the harp is constructed of a top plate and four side plates, as is best shown in Fig. 8. Referring to that ligure, 75 indicates the top plate, which extends from the neck 24 to the head of the harp. 76 77 78 79 indicate side plates, which are secured to the top plate 75 in any appropriate manner and are arranged in pairs, 76 and 77 upon one side,78 and 79 upon the other, with a suitable space 80 between the members of the pair 76 and 77, a suitable space 81 between the members of the pair 78 and 79 and a suitable space 82 between the inner members of the two pairs. The spaces 80, 81, and 82 extend longitudinally of the arm from the neck to the column and open into the column, the space 82 being open below to permit the free passage downward of the strings, as is best shown in Fig. 8. The arrangement of the pairs of plates is also shown in Fig.4,in which a longitudinal cross-section of a part of the neck is shown. Mounted in the side plates is an upper series of disks 83, one for each string of the harp, and a lower series of disks 84:, also one for each string of the harp, as is best shown in the enlarged detail in Fig. 3,and as is also shown in part in Fig. 4:. The two series of disks are set apart upon lines which converge toward one another from the bass strings to the highest strings, and the upper line and the line of the lower ends of the pins 28 bearing the swivel-rings 29 also converge, so that the distance between the line of the swivel-rings and the upper line of plates is such as to sharp each string a half atone when the fingers on the upper line of disks are brought to bear upon the strings, as hereinafter described, and to sharp the strings another half tone when the fingers on the lower line of disks are brought to bear upon the strings, as hereinafter described. In so "far as this feature of the harp is concerned the bearing upon the strings is of the usual and ordinary kind and operates in the ordinary manner to alter the tone of the strings, and hence it is believed will be readily understood without further description. The disks 83 and 8&, as is best shown in Figs. 4: and 8, are placed alternately upon opposite sides of the opening 82,bearing, that is to say, alternately upon the plates 77 and 78. The disks 83 and 8 L and the details of mounting and construction are all the same, and hence a detailed description of one will serve for a detailed description of all. Referring then to Fig. 17, where this construction is best shown, 85 in dicates a pin, which is screwed or otherwise secured in one of the outer plates. In Fig. 17, which, as has been said, will illustrate the construction whether the plates are upon one side or the other of the opening, the pin 85 is shown as secured to the outer side plate 76. The inner end of the pin 85 is provided with a hemispherical recess to receive the ball 86. 87 indicates an inner spindle, which is also provided with a hemispherical recess adapted to fit over the ball 86 and with a stem 88 of smaller diameter than the other portion of the spindle. 89 indicates a disk-spindle, which is provided upon its outer end with the disk 84, preferably formed integral therewith. 90 indicates fingers, two upon each disk, and preferably formed integral therewith, although they may be secured thereto in any well-known way. The fingers 90, when the disks are in their normal position -that is to say, when the pedal-rods are in their highest positionstand one upon each side of' a string in line with a pin 28, as is best shown in Figs. 3 and 4. 91 indicates a collar, which is mounted upon the spindle 89 inside the plate 77 and is secured thereto by a set-screw 92 in such a way as to bear upon the inner surface of the plate 77, holding the disk 84 against the plate 77, as is best shown in Fig. 17, but, of course, not so tightly as'to interfere with the turning of the disk in the manner hereinafter described. The inner end of the disk-spindle 89 is provided with a central longitudinal opening 93, which receives a spiral spring 9a, which surrounds the stem 88 of the spindle 87 and bears upon the bottom of the opening 93 and upon the spindle 87 at the base of the stem 88. The effect of the spiral spring is to hold the spindle 87 in yielding but sufficiently close engagement with the ball 86. The stem 88 of the spindle 87 projects within a suitable opening 95, adapted to closely receive it in the disk-spindle 89. 96 indicates an arm, which is keyed or in any appropriate manner secured to the disk-spindle 89. 97 indicates a lever, which is pivotally connected with the arm 96. The forward ends of the levers 97, which connect with the arms of the upper row of disk-spindles, are pivotally connected with the lower end of the cam-arms 69, and extending rearward toward the neck of the harp connect with a corresponding arm 96 on the disk-spindle which controls the string one octave higher up for each octave of the harp, asis best shown in Fig. 3. The levers 97, which connect with the arms 96 upon the lower series of disk-spindles, are pivotally connected at their forward ends with the lower end of i sition shown in Fig. 15.

the cam-arms 72 and continuing inward toward the neck of the harp connect with the corresponding arm 96 of the disk-spindle of each octave throughout the entire range of the harp, as is best shown in Fig. 3. As has been said, when all the seven pedals are in their uppermost position the fingers on the disks 83 84 are upon each side of each string of the harp and not in contact with'it, and the strings vibrating their entirelength from the swivel-ring 29 to the sound-board 21 are tuned to give the flat ofeach noteof the diatonic scale. When any one of the pedals is depressed a suitable portion of its distance, the corresponding pedal-rod is also depressed a suitable distance and bearing upon the corresponding cam-lever 69 swings it into the po- Throughout the operation of the levers above described the disks upon the upper line of disks 83, which engage the corresponding strings, are partially rotated throughout the entire compass of the harp an octave apart, and the fingers 90 are caused to bear upon the string in such a way as to raise the pitch of the string one-half a tonethat is to say, to cause the string to give a tone which is the natural note. As. has been said above, this operation so far does not affect the lower line ofdisks, the fingers of which are still upon each side of the string. When the foot-pedal is now depressed to its lowest position, the cam-arms are swung into the position shown in dotted lines in Fig. 15that is to say, the cam-arm 69 is swung back so as to free the fingers upon the upper line of disks from the string, and the cam-arm 7 2 is swung back into the position shown in dotted lines in Fig. 15, which causes the disk v upon the corresponding string for each octave of the harp in the lower line of disks to rotate, bringing the fingers thereof in contact with the string and producing the sharp of each note so affected. In the normal playing of the harp the seven pedals are all depressed to their first lowered position, which rotates all the disks in the upper row, bringing the fingers to bear upon the strings and causing each string to produce the natural of each note of the diatonic scale. Suppose, for instance, the lowest string to be tuned to E- flat and the other strings accordingly. When the pedals are lowered into their first lowered position, the notes of the strings will be E, F, G, A, B, C, D, and so on throughoutthe entire compass of the harp. In other words, the harp is then tuned to play in what is known as the natural keythat is to say, C-major. Suppose now it is desired to tune the harp so as to play in the key of G. The F-pedal will be lowered to'its lowest position, which will cause the disk bearing upon each F-string in the lower row throughout the entire compass of the harp to be partially rotated, bringing its fingers to bear upon the string which had theretofore been giving F and sharping it one half-tone, so that it would give the note of F- sharp. The tones of the strings then would be E, F-sharp, Gr, A, B, C, D, E, &c. In case it is desired to tune the harp to the key of D the C-pedal would also be depressed, sharping the C of each octave in the same way. Again, assuming the harp to be tuned in the natural key of C-major that is to say, with all the pedals in their first lowered position-it is desired to tune the harp to the key of F. The B-pedal is raised and allowed to assume its highest position, which will free both the upper and lower row of disk-fingers from engagement with their appropriate strings and cause the B of each octave to be flatted. The notes then, beginning with the lowest string and upon the supposition above set forth, would be E, F, G, A, B-flat, C, D, &c.

As I have said, in so far as the structure above described consists merely of the opera tion of rotating disks bearing disk-fingers which engage the strings the harp is constructed and works upon the well-known and ordinary way, and it is therefore believed that no further description will be necessary to make this operation clearly understood, my invention in this respect not being to the disks and fingers and their operation broadly, but to certain detailed improvements therein and to my new and improved mechanism for operating them, above described.

That which I claim as my invention, and desire to secure by Letters Patent, is

1. In a harp, the combination with apedal, and a pedal-rod, of an intermediate lever, and extensible pivotal connections between said intermediate lever and said pedal and pedal-rod, substantially as described.

2. In a harp, the combination with a pedal, a pedal-rod, and an intermediate lever, of a spring-seated longitudinally-movable pin on the inner end of said pedal, and spring-seated longitudinally-movable pins at each end of said intermediate lever pivotally connected respectively with said pin insaid pedal and with the lower endof said pedal-rod, substantially as described.

3. In a harp, the combination with a column, of plates mounted in said column, perforations in said plates, ball-bearings surrounding said perforations, pedal-rods movable longitudinally in said ball-bearings, and means for ac tuating said pedal-rods, substantially as described.

4. In a harp, the combination with pedalrods, means for longitudinally reciprocating the same, and finger-disks, of bearings on said pedal-rods, cam-arms swingingly mounted on a suitable support and adapted to engage the bearings on said pedal-rods, and connections.

between said cam-arms and said disks, substantially as described.

5. In a harp, the combination with the arm, a column, strings, pedal-rods, and means for longitudinally reciprocating said pedal-rods,

'of disks mounted in said arm, fingers on said disks adapted to project upon each side of said strings, bearings on said pedal-rods, camarms swingingly mounted in said column and adapted to engage the bearings on said pedalrods, and connections between said cam-arms and said disks, substantially as described.

6. In a harp, the combination with a sound chamber, arm, a column, strings stretched between said arm and said sound-chamber, pedalrods mounted in said column, and means for longitudinally reciprocating said pedal-rods, of disks rotatably mounted in said arm two for each string, one above the other, stringengaging lingers upon each disk, two sets of cam-arms swingingly mounted in said column one above the other, bearings on said pedalrods adapted to engage an upper and a lower cam-arm of each set, and connections between said upper set of cam-arms and said upper disks, and between said lower set of cam-arms and said lower disks, and adapted to turn the same, said upper set of cam-arms being adapted to be swung when said pedal-rods are moved downward a part of their movement to turn the said upper disks and cause the fingers thereon to engage the said strings, and to be released from said strings when the pedal-rods are moved farther downward to swing said lower set of cam-arms and turn the lower set of disks to engage the fingers thereon with said strings, substantially as described.

7. In a harp, the combination with an upper finger-bearing disk adapted by the engagement of its fingers to raise the pitch of the string half a tone, and a lower finger-bearing disk adapted by the engagement of its fingers to raise the pitch of the string another half-tone, of a pedal-rod, means for operating the same, an upper cam-arm adapted to be engaged by said pedal-rod and connected with said upper disk and adapted when said pedal-rod is partially depressed to turn said upper disk and bring its fingers to bear upon the string and when said pedal-rod is further depressed to return said disk to its original position and release the fingers from the string, and a lower cam-arm adapted to be engaged by said pedalrod and connected with said lower disk and adapted when said pedal-rod is depressed to its lower position to partially rotate said disk and bring its fingers into engagement with the string, substantially as described.

8. In a harp, the combination with a base, column, sound-chamber body, neck and arm connecting said neck and said column, of a sound-board on said body having its upper surface concave longitudinally and its central portion slightly convex laterally, and strings connecting said arm and said sound-board, substantially as described.

9. In a harp, the combination with a base, column, sound-chamber body, neck and arm connecting said neck and said column, of a portion slightly convex laterally and providedwith sound-holes, and strings connecting said arm and said sound-board, substantially as described.

lO. 1n aharp, thecombination with a'base, column, sound-chamber body, neck, and arm connecting said neck and said column, of a sound-board on said sound-chamber concave from above longitudinally and slightly convex from above in its central portion laterally, strings strung between said sound-board and said arm, and curved bass-bars on the lower surface of said sound-board extending inward and upward toward the central longitudinal line of said sound board and arranged in octaves with relation to said strings, substantially as described.

11. In a harp,the combination with the base, column and arm, of a sound-chamber and a storage chamber, openings between said sound-chamber and said storage chamber, valves adapted to open and close said openings, and means for operating said valves, substantially as described.

12. In a harp, the combination with a base,

. a column, a sound-chamber body and arm connecting said column and sound-chamber body,

1 .of an outer sound-board on said sound-chamber body, strings strung between said arm and said outer sound-board, an inner sound-board partition dividing said sound-chamber body into two longitudinal chambers, openings in Said partition, valves adapted to open and close 14. In a harp, the combination with a base, a body, and a column, of an arm connecting said body with said column, said arm having a longitudinal central opening extending substantially from said body to and opening into" said column and open from below, strings stretched from said arm in said longitudinal opening to said body, finger-disks upon each side of said longitudinal opening, and means for operating said finger-disks, substantially as described.

'15. A harphaving an arm composed of a top plate, and two pairs of side plates arranged with a central longitudinal opening between said pairs, extending from the body of said harp to and opening into the column thereof, substantially as described.

16. In a harp, the combination with a column an arm having a central longitudinal opening extending from the body of the harp to and opening into the column, and tuningpins in said arm, of strings stretched on said harp and passing upward into said central longitudinal opening on said arm to said tuning' pins, and pitch-screws mounted in said arm and provided with a swivel-ring at their lower ends adapted to engage said strings beyond their point of attachment to said tuning-pins, substantially as described. I

17. In aharp, the combination with a column an arm having a central longitudinal opening extending from the body of the harp to and opening into the column, and tuningpins in said arm, of strings stretched on said harp and passing upward into said central longitudinal opening on said arm to said tuningpins, and pitch-screws mounted in said arm and adapted at their lower ends to engage said strings beyond the point of attachment of said strings to said tuning-pins, substantially as described. FREDERICK O. YOUNG. Witnesses:

A. H. ADAMS, W. R. MANsEL. 

